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Choral dances from Gloriana, 1954 version

Introduction

Britten’s opera Gloriana, Op 53, was first performed at a gala event at the Royal Opera House, Covent Garden, on 8 June 1953 in the presence of Queen Elizabeth II, in honour of whose coronation (which had taken place just six days before) the work had been composed. Although popular with the general public, who flocked enthusiastically to the early run of performances, the opera was harshly treated in the national press: critics who were already sceptical of the composer’s meteoric rise to fame were delighted that the audience at the gala premiere—largely made up of unmusical diplomats and other dignitaries—was baffled by the work, and offended by its warts-and-all portrayal of an ageing monarch. Always pathologically sensitive to criticism, Britten made little attempt to promote the opera after this unfortunate debacle and it only became established in the mainstream operatic repertory many years after his death. He nevertheless salvaged certain parts of the score and sanctioned their use in concert performances.

The set of six Choral dances from ‘Gloriana’ for unaccompanied chorus was first performed by the BBC Midland Chorus in a broadcast on 7 March 1954; the set was later rearranged to include tenor solo and harp obbligato for a performance to mark the opening of the Queen Elizabeth Hall, London, in 1967. The dances occur in the first scene of the opera’s second act, which portrays a colourful masque at Norwich’s Guildhall attended by Queen Elizabeth I during a royal progress. Britten had intended this scene to combine vivid pageantry with a homage to Elizabethan song and dance, but later felt that it impeded the dramatic flow of the opera as a whole, and in some later productions the entire scene was cut. The sequence begins with the appearance of the demigod Time, ‘lusty and blithe’, who is followed by his wife Concord. Her song is set to music made up entirely of concords, a deliberate witticism on Britten’s part. After Time and Concord have danced together, country girls, rustics and fishermen join in the celebrations before the concluding ‘Dance of homage’ to the visiting sovereign.

Recordings

'The programme is delightful and the choir excellent … this has to be one of the strongest winners of the choral award in recent years' (Gramophone)'Polyphony's brand of singing, clean as a whistle, rhythmically wonderfully alive, impeccably tuned and voiced, polished yet always fervent, is justly ...» More

In the occasion of 2012 Diamond Jubilee, The King's Singers presented a selection of works from the past 500 years written in honour of the great Monarchs of Britain. Starting with works for Henry VIII, the programme covers the Elizabethan Triumph ...» More

Yes, he is Time,
Lusty and blithe!
Time is at his apogee
Although he thought to see
A bearded ancient with a scythe.
No reaper he
That cries ‘Take heed!’
Time is at his apogee!
Young and strong in his prime!
Behold the sower of the seed!

From springs of bounty
Through this county
Streams abundant
Of thanks shall flow.
Where life was scanty,
Fruits of plenty
Swell resplendent
From earth below!
No Greek nor Roman
Queenly woman
Knew such favour
From Heav’n above
As she whose presence
Is our pleasance…
Gloriana
Hath all our love!

Sweet flag and cuckoo flower,
Cowslip and columbine,
Kingcups and sops in wine,
Flower deluce and calaminth,
Harebell and hyacinth,
Myrtle and bay
With rosemary between
Norfolk’s own garlands for her Queen.

Sweet flag and cuckoo flower
Cowslip and columbine
Kingcups and sops-in-wine,
Flower deluce and calaminth,
Harebell and hyacinth,
Myrtle and bay and rosemary between,
Norfolk’s own garlands for her Queen.

From fen and meadow
In rushy baskets
They bring ensamples of all they grow.
In earthen dishes
Their deep-sea fishes;
Yearly fleeces,
Woven blankets;
New cream and junkets
And rustic trinkets,
On wicker flaskets,
Their country largess
The best they know.